르코르뷔지에의 회화에 나타나는 인간개념에 관한 연구

박성용 한국미학예술학회 2024 美學·藝術學硏究 Vol.72 No.-

본 연구의 목적은 르코르뷔지에의 회화 작업을 중심으로 인간개념을 살펴봄으로써, 그의 예술관이 단순히 기계미학과 기능주의에 국한되지 않는다는 점과 인간개념을 중심으로 지속적인 변천 과정을 갖는다는 점을 논증하는 것이다. 연구는 르코르뷔지에 인간개념의 가치척도 측면과 조형적 측면에 대한 고찰로 나뉜다. 가치척도 측면은 ‘이성적 정신’, ‘비례척도’, ‘조형적 가치의 위계’를 살펴보았으며, 조형적 측면은 그의 회화 작품에서 발견되는 조형의 ‘항구적인 것’과 인간개념의 관계, 기계미학과 인간개념과의 관계를 살펴봄으로써, 사물(비유기체)에서 인간(유기체)으로 변모해 가는 변천 과정을 살펴보았다. 연구 결과 르코르뷔지에의 회화 작업은 단순한 기하학 형태에 대한 묘사에서, 조형의 진수로 추출된 선들의 유기적 융합으로 나아가는데, 그 과정에서 ‘공간의 인간화’와 ‘사물의 의인화’를 추구하며, 사물과 인간의 통합이 이루어진다. 이러한 변천 과정은 르코르뷔지에 회화 작업의 가치척도와 조형적 측면을 관통하는데, 이는 일견 모순되어 보이던 그의 기계미학과 인간개념이 거시적인 예술관 안에서는 하나의 발전 양상으로 이해될 수 있음을 말해준다. The objective of this study is to explore the human concept in Le Corbusier’s paintings, with the aim of revealing how his artistic vision extends beyond mere machine aesthetics and functionalism and develops centered on the human concept. The research is divided into two aspects: the value and formal aspects. The value aspects examine “rational mind,” “scale of proportion,” and “the hierarchy of formal values,” while the formal aspects investigate the relationship between the “invariables” in his paintings and the human concept, as well as the relationship between machine aesthetics and the human concept in order to reveal a transformation from non-organic (objects) to organic (human). The results of the study show that Le Corbusier’s paintings progress from simple geometric forms to an organic fusion of lines extracted as the essence of form. This process involves “the humanization of space” and “the personification of objects,” leading to an integration of objects and humans. This result suggests that what appeared as contradictory aspects of his machine aesthetics and human concept can be understood as one developmental aspect within a broader artistic view.

르코르뷔지에가 주창한 건축교육 내용에 관한 연구

이관석(Lee, Kwan-Seok) 대한건축학회 2012 대한건축학회논문집 Vol.28 No.10

This paper considers the contents of architectural education advocated through books and lectures written and given by Le Corbusier who has refused incessant demands of young students of architecture to give them instructions. His principal objects of architectural education can be classified broadly into four groups. First, even though he scolded imprudent reception of the past without the spirits of the times, he emphasized the importance of tradition, aboriginality and folk culture. Second, he laid stress on the site where architecture was generating, paid keen attention to the spatiality and circulation in architecture. And he valued much of the study on housing as a base of architectural research. Third, he maintained that we should apply merits that technology can afford to architecture through the study on dynamics, materials, prevention of noise, insulation, expansion and air-conditioning. Although he failed several times due to technological problems that he could not solve by himself, he never hesitated to apply technology to his works. Fourth, paying attentions to the physical and spiritual characteristics of architecture and thinking that real image of architecture would be determined by spiritual values that come from special state of conscience and by technical elements that could realize ideas physically, he searched well balanced architecture built by matter but controlled by spirit.

르코르뷔지에의 종교건축 예배공간에 유입된 자연광의 역할과 의미

이관석(Lee, Kwan-Seok) 대한건축학회 2017 대한건축학회논문집 Vol.33 No.8

The purpose of this study is to analyze the characteristics of natural light and to expose its spatial role and signification in the worship spaces of Le Corbusier’s Chapelle Notre Dame du Haut and Couvent Sainte Marie de la Tourette. In case of lights of which their light sources are exposed, most of them brighten upper part of the worship spaces and back walls of the altar where are not illuminated by artificial lighting, and save spatial qualities like an inside dynamics. Even though the light source of the south wall at Ronchamp is exposed, like a canvas painted with colors of light, its exceptional quality inspires mystic and spiritual atmosphere in the pilgrim church. On the other hand, lights of which their sources are concealed contribute to creating a stable, divine and introversive environment in two worship spaces. Light accompanied by color is also the main feature of two worship spaces. In this case, colorless lights play a role as an exposed light sources. Colored glass windows of South wall at Ronchamp is a contemporary analysis of a stained glass in traditional churches and expose architecture as a composite art by revealing Le Corbusier’s artistic sensibilities. Quite and sublime lights in three small chapels at Ronchamp maintain a sense of security which is necessary for worship space by confronting colorful light of the south wall. At the Couvent de la Tourette, lights loaded with colors and with depth gain introversive spatial quality which is necessary for a sanctuary attached to a couvent. In Le Corbusier’s two worship spaces, position and shape of openings and direction of lights through them have been elaborated. It means that light and spatiality are closely connected. At Ronchamp, two representative but quite different lights through the south wall and in three small chapels hold on each quality and keep balance between sense of movement and security. At the Couvent de la Tourette, several shapes and three-dimensionally positioned openings and direction of lights awaken vitality in the darkness by giving movement and directivity.

르코르뷔지에 건축의 친환경적 면모와 그 의미

이관석 대한건축학회 2022 대한건축학회논문집 Vol.38 No.9

This study first considers why Le Corbusier’s architecture was not well-accepted in terms of eco-friendly architecture by examining the sustainable and passive eco-friendly aspects that were not common at the time of his architectural work and its meaning. Despite his ideal and bold urban planning proposals, his attempts and failures in Moscow and Paris followed by restrictions from the international style, it was confirmed that an eco-friendly perspective for sanitation through sunlight and ventilation was valued and made evident in his Les 5 Points de L’architecture Nouvelle. When there was little awareness of environmental protection, it was confirmed that Le Corbusier's attention to deployment that considered direction of the sun and the wind, shadow formation through brise-soleil and toiture-parasol, and natural ventilation through duplex and interior emptying in hot areas revealed the environmentally friendly aspects of today's passive and sustainable architecture. Architectural measures in these areas where it was impossible to install and operate air conditioning facilities due to economic problems could be seen as an active consideration of architecture providing for its residents. 본 연구는 먼저 건축의 친환경성 측면에서 좋은 평가를 받지 못하는 르코르뷔지에 건축이 왜 그렇게 받아들여지는지를 확인하고, 그럼에도 그의 건축 작품에서 당시에는 흔치 않았던 지속 가능하고 패시브한 친환경적 면모를 찾고 그 의미가 무엇인지를 고찰한다. 원죄 같은 그의 도시계획안들, 모스크바와 파리에서의 시도와 실패, ‘국제 양식’의 굴레 등에도 불구하고, 그가 주창한 ‘새로운 건축의 다섯 가지 요점’에서 볼 수 있는 것과 같이, 그가 햇빛과 통풍을 통한 위생을 위한 친환경적 관점을 중시했음을 확인한다. 이어서 환경 보호에 대한 인식이 희박했을 때에 르코르뷔지에가 유념한 더운 지역에서의 향을 고려한 배치, 차양과 그늘막 지붕을 통한 그림자 형성, 실내의 복층화와 내부 비워냄을 통한 자연통풍 유발을 통해 오늘날의 패시브 건축과 지속 가능한 건축이 모두 지향하는 환경친화적 면모를 드러냄을 확인한다. 경제적 문제로 공조설비의 설치와 운영이 불가능한 지역에서의 이런 건축적 조처는 건축이 거주자를 위해 할 수 있는 윤리적 배려라 할 수 있다.

르코르뷔지에의 대량생산주택 실험의 재해석 - 「건축을 향하여」에 수록된 1910~1920년대 사례를 중심으로 -

이길임 대한건축학회지회연합회 2023 대한건축학회연합논문집 Vol.25 No.2

Le Corbusier's mass production housing experiment has been considered as one of the important theories in modern housing. However, studies focusing on its whole context and meanings in detail are very limited. With this background, the goal of this research is to interpret implicit meanings in his experimental cases of mass production housing, included in 「Vers une architecture」, focusing on specifically his arguments and basis of assertion. There are three steps. First, finding major ideas and background logic in the mass production housing theory. Second, analyzing each cases’ characteristics. Finally, interpreting his intention of the mass production housing experiment from classifying the cases by features and keywords. Through analysis, the meanings of the ‘standard’ and the ‘machine à habiter’ appeared. Also, the relation between the mass production and those two concepts showed up. His concept of mass production housing is a way to approach to the perfection of house which is the ultimate goal. The concept of ‘machine à habiter’ is a logical basis in order to assert the industrialization of construction and the necessity for the quality improvement of housing. Especially, that means it is his social vision that any social class of people can have the same human living conditions by applicating the mass production housing theory.

랜드 마크와 20세기 도시계획 -랜드 마크의 상징적 변형과 도시계획에서의 함의-

문종만 ( Moon Jong-man ) 성균관대학교 인문학연구원(성균관대학교 인문과학연구소) 2016 人文科學 Vol.0 No.63

본 논문의 목적은 현대 도시계획에서 땅(Land)과 표시(mark)의 합성어인 랜드 마크(Landmark)가 차지하는 상징적 의미와 변형에 대한 철학적 해석의 기반을 탐구하는 것이다. 현대적인 의미에서 랜드 마크는 눈에 잘 띄어 이정표 역할을 하는 큰 산과 같은 자연물이나 인공물뿐만 아니라 크기는 작더라도 지역의 특성을 담고 있는 상징물과 특색 있는 건물 등에 두루 사용되고 있다. 하지만 시간의 지평을 고대까지 넓혀서 생각한다면, 하늘-대지-인간을 잇는 랜드 마크는 `한 사회 공동체의 의미를 응축한 상징 형식인 동시에 그 의미를 재생산하고 재해석하는 중심`이라는 보다 보편적인 의미를 획득하게 된다. 이런 랜드 마크의 의미, 특히 `사회적 의미를 재해석하는 중심`이라는 측면에 무게중심을 두고 본 논문은 먼저 랜드 마크의 출현에서부터 도시와 랜드 마크의 관계가 형성되는 역동적 과정을 탐색할 것이다. 이를 통해 랜드 마크의 보편적 의미를 분명히 규정하고, 도시의 발전 과정이 랜드 마크의 상징적 의미와 그것의 변형 과정과 일치함을 보일 것이다. 그 다음으로 본 논문은 이런 랜드 마크의 의미를 바탕으로 20세기 도시계획의 역사에서 중요한 공헌을 한 세 명의 도시계획가 -르코르뷔지에(Le Corbusier), 루이스 멈퍼드(Lewis Mumford), 제인 제이콥스(Jane Jacobs)-의 사유와 기획을 분석할 것이다. 근대의 산업화를 동반한 급격한 도시화 속에서 랜드 마크는 문화적으로 다양하게 사용되면서 의미가 모호해졌다. 그러면서 자연스럽게 `사회적 의미를 재해석하는 중심`이라는 랜드 마크의 본래적 의미는 `도시`와 `도시다움` 혹은 `도시계획`과 `도시 공동체의 좋은 삶`이라는 긴장 관계로 논의 중심이 옮겨졌다. 이런 랜드 마크의 의미의 변동을 고려해서, 본 논문은 `어떤 사회적 활동에서 누구도 점유할 수 없지만 여러 가지 가능성을 표현할 수 있는 공적 영역`이라는 정치철학자 끌로드 르포르(Claude Lefort)의 `빈 장소(empty place)` 개념을 도시계획에 적용함으로써, 세 명의 도시 계획가의 입장을 평면적으로 비교하는 대신에 각각이 `빈 장소`를 어떻게 사유했고, 그 결과로 어떻게 서로 다른 독특한 도시계획의 비전을 제시했는지에 초점을 맞출 것이다. 결론적으로, 르코르뷔지에에게 `빈 장소`는 `초월적 기하학`이었고, 멈퍼드에게 `빈 공간`은 사회적 목표의 설정과 도시계획의 구상 속에서 다양한 해석을 열어놓는 `구성의 가능성`이었다. 그리고 제이콥스에게 `빈장소`는 모든 도시계획에 저항하는 `사회적 깃발`이었다. 자연스럽게 이런 분석의 결과는 과거의 도시개발의 거센 후폭풍으로 몸살을 앓고 있는 2016년 대한민국의 도시계획의 현실에 의미 있는 함의를 던져 줄 것이다. The purpose of this paper is to investigate the basis of philosophical interpretation of a landmark`s symbolic meaning as well as its transformation in modern urban planning. Literally “landmark” is formed from the words `land` and `mark`. In a modern sense, landmarks are usually referred to as recognizable natural objects and artefacts used for navigation. It can also be applied to smaller structures or features that have become local symbols. Differing from this modern perspective, landmarks were originally symbolic: a place where since the advent of society the sky, land and humans were connected as one. From then on, the landmark effectively functioned on the one hand as a site for patterns of collective action, periodically through rituals, worship, and the use of language; the landmark helped to strengthen social integrity. On the other hand people reinterpreted the landmark as a means to solve social problems in times of social duress. Landmarks functioned not only as the symbolic from of societies, but also as a centre that produced and reinterpreted social meanings. In this study, I concentrate more on the latter role of a landmark rather than the former in order to emphasize the meaning of philosophical interpretation of the landmark. Departing from this definition of the landmark, I then focus on the implication of the landmark on urban planning by exploring a 20th century dispute concerning urban planning. When it comes to urban planning, I analyze the viewpoints of three urban planners: Le Corbusier, Lewis Mumford, and Jane Jacobs; all of who still influence contemporary urban planning field. In modern times, the landmark has broadened to include a variety of cultural objects, becoming blurred. The landmark has become an object of focus involved in the dispute between `city` and `cityness` or `urban planning` and `good life of the urban community`. In order to explain the strained relationship between landmark and urban planning, I use Claude Lefort`s concept of `empty place`; impossible to occupy, to the extent that those who exercise public authority cannot claim to appropriate it. By `empty space`, I refer to the indeterminism of the social, so opens the possibilities for various interpretations. As a result, I show that Le Corbusier thinks of `empty space` as a transcendental geometry, Mumford regards it as a source of new imagination and possibility to realize the purpose of urban planning, and Jacobs thinks of it as a social flag by extending the meaning of the `cityness`. Lastly, the results of these studies shed light on the present state of our urban planning, which is related to the landmark.

르코르뷔지에의 ‘새로운 건축의 다섯 가지 요점’의 재해석 - 최종 발표에 나타난 변화의 의미 분석에 기초하여 -

이길임 한국문화공간건축학회 2023 한국문화공간건축학회논문집 Vol.- No.82

Le Corbusier's 5 points theory has been considered as one of the important theories in modern architecture. Especially, it is most necessary to understand how horizontal windows, independent frames and free façade changed in the final publication. Because these are the key concepts of the 5 points theory. Therefore, the goal of this research is to reinterpret implicit meanings in the changes of the final 5 points publication, focusing on specifically those three points. There are three steps. First, finding major changes in 3 times of publications. Second, analyzing new concepts proposed through the changes about all of the points. Third, interpreting his intention of changing the final 5 points theory from that. Study methods are extracting, comparing and analyzing of the primary documents by Le Corbusier. There are three results. According to him, the glass wall is the ultimate form in the horizontal windows. In order to emphasize it, he integrated the horizontal windows point into the free façade point. Also, the meaning of the ‘free’ used at the free plan and façade points is close to the new condition of human, controlling 100% of the sunlight and the space on his own free will. Finally, this enjoyment of equal rights to sunlight is the keynote of the final publication of 5 points theory.

동방 여행에 근원한 르코르뷔지에의 건축적 사고 계발에 관한 연구

이장민,표응석,이길임 한국문화공간건축학회 2024 한국문화공간건축학회논문집 Vol.0 No.87

The subject is to reinterpret the ‘Journey to the East’ that had a great influence on Le Corbusier. Through this, itreveal specifically how the Journey became the basis of his development of architectural thinking. The purpose is to providebackground knowledge necessary for the interpretation of his architecture by objectifying and structuring the development ofthinking throughout the entire journey. The method is analysis of the original text of his book 「Journey to the East」. Theorder is to identify the main points of Journey in Chapter 2 and analyze experiences and thoughts by region in Chapter 3. InChapter 4, keywords, common categories, and development methods for specific thinking are derived by synthesizing andsystematizing the meanings revealed by region. As a result, his development of thinking converges into a total of sevenaspects in two sides as follows. It is an essential thinking about art, architecture, humans and nature, and architecturalcomposition thinking about visual and perceptual elements, structure, dimensional systems, and apartment types. These have allserved as constant inspiration for key works such as housing experiments, Purisme architecture and painting, and the maintheories of the Five points of new architecture, Horizontal windows and Glass walls, the Radiant cities, and the Modulor.

르코르뷔지에의 창 이론에 나타난 건축적 함의 - 1920년대 주요 저작과 발표를 대상으로 -

이길임 대한건축학회지회연합회 2023 대한건축학회연합논문집 Vol.25 No.2

Le Corbusier's window theory has been considered as one of the important theories in modern housing. However, studies focusing on its whole context and meanings in detail are very limited. With this background, the goal of this study is to interpret implicit meanings in his all documents about window concepts, included in his major publications such as「Vers une architecture」, 5 points of new architecture etc. There are three steps. First, finding major ideas and background logic in his books. Second, analyzing the famous argument between Perret & Le corbusier about the window’s form. Finally, interpreting his intention of the horizontal window concept from the 1st & 2nd publications of 5 points. Through analysis, the full implication of the horizontal window and the glass wall concepts appeared. Also, the relation between the window and the independent frames showed up. His concept of window is based on his anthropocentricism. And it is a way to approach to the perfection of house which is the ultimate goal. Especially, that means it is his social vision that any social class of people can have the favorable human living conditions by the common window module and the mass production housing.

인문적 스마트시티로서 친환경 콤팩트시티의 공공성 -프랑스 사례를 중심으로-

김화자(Hwaja KIM) 한국현상학회 2020 철학과 현상학 연구 Vol.86 No.-

대도시에서 발생하는 문제들을 해결하기 위해 스마트시티가 미래도시의 모델로 추동되고 있다. 지능형 융합기술에 기반 한 스마트시티는 인문적 가치를 상실하지 않기 위해 편리성, 경제성의 가치 넘어 거주 공동체의 감성적, 공공적 가치를 창출해야 한다. 따라서 본 논문은 프랑스 대도시들에서 실현되고 있는 시간정책과 파리 15구에 위치한 이씨 레 물리뇨(Issy Les Moulineaux)의 첫 친환경 스마트 시범지구인 포르디씨(Fort dIssy)가 거주 공동체의 감성적 공공적 가치를 창출하며 인문적 스마트시티의 사례가 될 수 있는가를 근대 건축 및 도시와의 비교를 통해 살펴보았다. 건축을 살아있는 기계로 간주한 르코르뷔지에의 근대 건축과 도시에 관한 사유를 데카르트의 기계적 공간론과 연관해 살펴본 결과 근대 도시는 격자형의 기하학적 공간이 불평등한 위계적 공간이 되어 삶의 형태를 분할하고, 질적 시간을 상품의 시간으로 재생산해 도시를 소비 또는 소유의 대상으로 만든 실용주의적 도시모델임이 밝혀졌다. 인문적 스마트시티로서 포르디씨의 특징은 메를로퐁티의 현상학적 몸과 살의 시공간적 지평에 근거한 팔라스마의 감각적 건축론에 입각해 살펴보았다. 문화적 시간을 간직한 친환경 콤팩트시티, 포르디씨는 도보의 접근성을 통해 거주민의 다양한 실존적인 시간들을 획일적인 재생산의 기능으로 환원되지 않게 주거와 일터가 분리되지 않고, 거주민이 건축, 자연환경과 상호 공감각적으로 교감하면서 도시 공동체에 참여할 수 있는 공공성의 가치를 지닌 것으로 밝혀졌다. Smart City, which has emerged as a future city model to solve problems in large cities that have become huge due to population concentration, should create emotional and public values of residential communities beyond the value of convenience and economics in order not to lose human value. Therefore, this study examined the time policy realized in French metropolitan cities and whether Fort dIssy, the first eco-friendly smart demonstration district of Issy Les Moulinaux located in 15 Paris, could create emotional public value of residential communities and become a case of humanistic smart cities through comparison with modern architecture and cities. As a result of examining the reason of modern architecture and city in Le Corbusier, which regards architecture as a living machine, in connection with Descartes mechanical spatial theory, it was revealed that modern cities are pragmatic urban models that have created cities as objects of consumption or ownership by dividing the form of life and reproducing qualitative time as time of goods as hierarchical space. As a humanistic smart city, Fort dIssys characteristics were examined based on Pallasmaas sensual architectural theory based on the horizon between Merleau-Pontys phenomenological body and flesh-time. It was found that the eco-friendly compact city, Fort dIssy which have cultural time, have the value of publicness that residents can participate in urban communities by communicating with architecture and natural environments synesthetically without separating housing and workplaces so that the various existential hours of residents can not be reduced to uniform reproduction functions through accessibility of walking.